Do critics act as a bridge to guide more readers into the literary field? So, maybe at the moment, we need a kind of criticism with the reader's mentality and parallel to the reader.
? Humans live poetically on the earth. ? Holdrin's poems have more philosophical connotations than Heidegger's, and have become the dream of generations of scholars. In the discussion of many theorists, our era is already an era of technological rationality, an era of alienation of people, and an era of materialistic desires. What is the art of this era? How to make people return to poetry? On August 3-6, at the first Gansu Literature and Art Forum sponsored by Gansu Federation of Literary and Art Circles, Gansu Literature and Art Critics Association and Media College of Northwest Normal University, the art restoration in the non-art era? As the theme of the forum, under the rich and multi-angle sub-topics, Gansu writers and critics' thoughts on literary mission, academic criticism and local creation in Gansu attract people's attention, especially their self-reflection and self-criticism, which show their sincerity and mind. A reflective nation or region is bound to become powerful.
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The literary mission of the floating age: don't exaggerate the age, literature is the ballast stone of the age.
It's hard to name an era. Gansu writers and critics use it with caution? Suspended? This word. This is an era of suspension. It was said at the meeting that time is a moving suspended train, suspended above existence. Our existence is generally lacking in poetry and generally pale, and it is impossible to cultivate literature. Literature is rootless, empty, free and frothy, and it cannot nourish the times. The era of floating life is also an indescribable era; Some people say that the era of floating life is an era surrounded by technical rationality, instrumental rationality and material desire. Chen Wenchun, Chairman of Gansu Literature Critics Association, Dean of School of Philosophy and Social Sciences of Lanzhou University.
It shows that in the western sense, suspension is a movement far from the center, from Logocentrism before modern times to anthropocentrism after modern times, until the so-called post-modernism becomes non-centrism, which obliterates everything and eliminates depth. Existence has lost the height of heaven, earth, man and god, and has become a pure concept, which is getting farther and farther away from real existence. Then, in such an era, how can literature return to reality and become people's spiritual home again instead of discourse carnival? Facing the reality, when many people criticize the times, Gansu writers and critics have issued the voice of self-reflection more calmly.
? It is irresponsible to attribute the problems of our literature to the times! We are in the middle of the times. ? Quan Huajin, an associate professor at the College of Literature of Lanzhou University, said that literature and the times have not fallen. The reason for making such a judgment on literature and the times is because there is anxiety in the heart that literature is marginalized. It is normal for literature to be marginalized. Literature is the ballast stone of the times, a small part, not the whole of the times? This anxiety needs to be corrected. This coincides with the lofty views of poets and critics. Noble also pointed out? Time is not an empty thing, not a word hanging over our heads. ? The times are in each of us. When we criticize others' inaction, we may need to start from ourselves, otherwise it seems that we are always talking about other people's affairs. ? On artistic restoration in floating age or non-artistic age, is restoration a promise? .
? Let's not over-describe an era. ? The writer Yizhou also emphasized that writing in any era is naturally hostile to the era itself. Any writer will think that his time is floating, even Li Bai will think so, otherwise there would be no such poem as "Difficult to Go". He pointed out: Don't magnify the decay and pain of the times repeatedly, and let literature prescribe prescriptions for the times. Literature can't bear so much, but literature should accurately see where the pain of the times lies and give some comfort.
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Reflection on academic criticism: from commenting on irrelevant texts to criticizing parallel to readers.
Academic criticism has always been criticized for not understanding, citing too many western theories and being unable to talk to ordinary readers. As some critics have said, I don't know when academic criticism seems to be a derogatory term. . Most critics from colleges and universities in Gansu Province have also reflected on internal criticism from colleges and universities.
Xu Zhaoshou, director of the Literature Committee of Gansu Literature Critics Association, dean of the Media College of Northwest Normal University. One of his students tried to do research on Li Juan's theoretical prose, but a professor denied it, saying that he had never heard of this person. Xu Zhaoshou said? If you don't read the text, how do you know the author exists? Later, as soon as the professors checked, oh, this writer is good, they agreed to let the students do it. Wang Yuanzhong, a professor at the School of Arts of Tianshui Normal University, also pointed out that critics like to label and classify. Some critics tried to classify Li Juan, but found that they couldn't either. ? Our criticism is not at the literary scene, many people don't read the works, and the comments have nothing to do with the text? .
There are other problems besides not reading the works. ? Critics speak with knowledge in a kind of? Without thinking? State, no thoughts. ? Zhang Yan, director of the Literature and Art Theory Research Office of Gansu Federation of Literary and Art Circles and executive vice chairman of Gansu Literature and Art Critics Association, said frankly that these people either demand literature with morality as the benchmark or use theoretical works. What doctrine is this? What doctrine is that? It seems that the truth is in their hands. In fact, they don't even know what the truth is, which also leads to the weakness of criticism itself. Zhang Yihong, a professor at the College of Literature of Lanzhou City University, also believes that academic criticism is confined to academic journals and far away from readers, which leads to the absence of critics. At the same time, beginners are eager to show off their knowledge, and there are not many opinions and wonderful comments left after removing the quoted theory. In addition, all academic schools recognize the works with large reading space, and the works only provide them with a platform to show themselves. As Liang Bo, Ph.D., College of Literature, Lanzhou University, said: All works are dissected with scalpels. A good work is one that conforms to oneself, and one that does not conform to it is unqualified. ? Li Xiaoyu, Ph.D., from the College of Literature, Northwest Normal University, also pointed out that some colleges criticized that there was no perceptual knowledge, just to put forward their own views. Comments have nothing to do with the text, which is just a dispensable argument? .
This not only leads to the tension between critics and writers, but also leads to the inversion of the relationship between theory and works. Tang Hancun, deputy secretary-general of Gansu Literature and Art Critics Association and associate professor of Lanzhou Jiaotong University, pointed out that academic articles have aroused the appetite of writers and have not touched the key of personal creation, so writers will not buy your account, while academic schools blame writers for their inhumanity and difficulty in communication. At the same time? The birth of any original literary theory has its roots? Instead of using some so-called concepts and theories to correspond to the works, we should gradually realize some theories from the perspective of feeling the world and literariness of the works. Some academic schools just reverse the two, turning literary criticism into exposition and unable to form their own theories. Tang Hancun also bluntly said that under the guidance of the evaluation system of colleges and universities, the academic school became rigid and generally lost its love for literary truth. I am more concerned about the pragmatism, utilitarianism and instrumentalism brought by criticism itself, which has become a contemporary China? Academic stereotyped writing? The representative of.
How to cultivate one's morality in university criticism? First of all, critics can do some literary creation. Zhou Zhongmou, Ph.D., College of Literature, Lanzhou University, pointed out that Chen Sihe is a representative of the academic school, but his literary criticism is not bound by a rigid theoretical system, but full of wisdom and spirituality, which may be related to his own prose creation, enabling him to think from the perspective of a writer when commenting. Secondly, stop condescending and return to criticism parallel to readers. Liang Bo emphasized that there are more and more college students, and the number of readers should also increase exponentially. But the reality is that most literary works are only read by students of Chinese department, and students of other departments have no idea. He asked: Do critics play the role of a bridge to guide more readers into the literary field? Therefore, perhaps at the moment, we need a kind of criticism with the reader's mentality and parallel to the reader. Third, have an understanding and expectation of the writer, and comment with a sense of problem. What a writer needs is a deep understanding of soul and spirit, and the writer's interpretation should be as Kant said? Know him better than he knows himself. . Yang Jianjun, an associate professor in the College of Literature of Lanzhou University, believes that the times and writers are unavoidable issues for critics. We should expect writers from a higher angle, such as Kafka's relationship with the times and Lu Xun's relationship with the times, and expect our writers to respond to the times. At the same time, it is necessary to expose the ideological deficiencies of some writers, point out their spiritual growth process, and comment with a sense of problems. In addition, you should also have an initial heart. Xu Zhaoshou emphasized that literary criticism is not the result of scientific research, so it is not utilitarian, which also makes writers need to keep their initial intentions, otherwise they will write to make money, and criticism will be ruined.
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The present situation and promotion of Gansu literature: still water flows deeply, ready to go, and regional cultural differences are rich mines of literature.
In the 1980s, a magazine sponsored by Gansu Federation of Literary and Art Circles flourished, was unique and keen, stood at the forefront of the times, and paid attention to and guided the literary trend of thought at that time. This is the trend of thought in contemporary literature. A large number of national famous literary theorists published articles in the journal, and Xu Jingya's The Rising Poetry Group also came out from here, thus promoting the development of a poetry school. Gansu also became a literary and artistic center at that time. After more than 30 years, many excellent writers and critics have emerged in Gansu, but it is undeniable that the glory of the past no longer exists. What's the problem? What are the advantages created by Gansu? Where will it go?
Are you online? Postmodern? When it has become an outdated vocabulary, most parts of Gansu are still there? Pre-modern? . Yang Guangzu, vice chairman of Gansu Literary Critics Association, said frankly that the first major feature of Gansu literature is the local flavor. However, it does not mean that the more national it is, the more cosmopolitan it is. To write the deep characteristics of Gansu, writers need to have profound cultural accomplishment and broad vision, nationality and locality. What if it's not? Worldwide? As a premise, this is of little value. Most writers in Gansu come from rural areas, and their agricultural status gives them both innate advantages and great disadvantages. For example, they are easily captured by fame and fortune, and their creations have a strong realistic appeal. No matter how deeply they reflect on the local culture and the modernization of national culture, it is even more difficult for them to be great. He emphasized that a writer should not write for a region, nor for a group of people, but for mankind and his own soul, and should have a broad vision and mind, and should not have internal limitations. We don't have the right time and place. If we start from ourselves, miracles will happen? .
Not only the creation of local themes, but also the construction of city image have problems. Guo Maoquan, an associate professor at the College of Literature of Lanzhou University, pointed out that when expressing the city, Gansu literature bears the strangeness of rural writers to urban culture and the emotional native complex. Even rural writers in the city are constantly repeating rural stories. Is it sitting on the tower overlooking the countryside and remembering the countryside? , more common in reflecting the disease of urban civilization, but also pay more attention to officialdom or university life. He pointed out that seeing the city should be deep-seated, all-round and multi-angled, and more attention should be paid to the citizens. Without paying attention to the citizens, the spiritual construction of the city cannot be truly completed.
? Why is it so difficult for us to produce good works? The writer Yizhou said that it may indeed be related to the writer's poor writing style, but it is also related to remoteness. Gansu writers and poets must be written one by one if they can be famous all over the country. This hard and even gaunt training for many years is not a bad thing for Gansu writers. ? We are a little neglected in this era. Maybe we are more pure in creative spirit and research spirit? . Some critics also believe that the reasons for the lack of confidence in Gansu literature are incorrect goals, lack of experience and academic support, eager for quick success and instant benefit, poor preparation for sailing, and inaccurate judgment on the world, so we should go with the flow. In addition, there is no literary media with national influence in Gansu to provide a platform and position for writers and critics. At present, only two literary publications have official serial numbers, namely, Tian Fei and Northern Writers. Gansu Literature and Art, a review publication of the Provincial Federation of Literary and Art Circles, is an internal publication, and literary publications in various cities and prefectures are also folk and internal publications. Without hyphens, there is no right to speak in the country, and writers can't make a good voice.
Is it true that the region is remote and the culture is poor? On the other hand, Gansu's cultural resources are very rich and need to be tapped. Quan Huajin pointed out that for thousands of years, Gansu has been a place where many ethnic groups meet. The difference and richness of regional culture in Gansu is precisely the rich mine of Gansu literature, not the factor that restricts the development of Gansu literature? . Yang Jianjun also stressed that it is not important to write about villages or cities. What's important is that the life experience of Gansu people can answer the current people's survival dilemma. We should have confidence in this land? . Yang Guangzu also clearly saw that Gansu has a profound cultural heritage and lacks people who are patient and willing to explore local resources alone. Writer Yang Xianhui is no longer in Gansu, but he visits Hexi, Dingxi and Gannan at his own expense every year, and writes excellent works such as Jiabiangou Chronicle, Dingxi Orphanage Chronicle and Gannan Chronicle. Gansu writers can only write more wonderful works if they settle down.